Parmegiani _ Bayle : La Divine Comédie : d'après l'oeuvre de Dante _ 1995

Parmegiani _ Bayle : Divine Comédie - Enfer Purgatoire & paradis terrestre - d'aprés l'oeuvre de Dante -1995

Parmegiani - Enfer

CD1-01 Bernard Parmegiani La Découverte De L'Ombre (3:54)

Les Portes (9:59)
CD1-02 Bernard Parmegiani La bête (1:52)
CD1-03 Bernard Parmegiani Le chemin difficile (1:25)
CD1-04 Bernard Parmegiani Les portes de l' Enfer (9:59)
CD1-05 Bernard Parmegiani L' étendard humain (2:28)
CD1-06 Bernard Parmegiani Passage de l ' Achéron (1:52)

L'Impouvoir (7:08)
CD1-07 Bernard Parmegiani Béatrice (2:08)
CD1-08 Bernard Parmegiani Désir sans espérance (1:55)
CD1-09 Bernard Parmegiani Les châteaux (0:33)
CD1-10 Bernard Parmegiani L'ouragan infernal (2:32)

Mal - Mort (5:13)
CD1-11 Bernard Parmegiani Mal - Mort (4:10)
CD1-12 Bernard Parmegiani Le messager céleste (01:03)

Les monstres (7:26)
CD1-13 Bernard Parmegiani Femmes de griffe (01:58)
CD1-14 Bernard Parmegiani Hommes de ronces (02:15)
CD1-15 Bernard Parmegiani Metámotphoses (02:06)
CD1-16 Bernard Parmegiani Cérbères (1:07)

Les abysses (10:33)
CD1-17 Bernard Parmegiani Les abysses (03:56)
CD1-18 Bernard Parmegiani Le Styx (03:48)
CD1-19 Bernard Parmegiani Les rêve du rêve (02:49)

Fond de bleu (03:06)
CD1-20 Bernard Parmegiani Le phénix (0:41)
CD1-21 Bernard Parmegiani Fond de bleu (02:25)

Le noeud ardent (10:03)
CD1-22 Bernard Parmegiani Bataille des dragons (03:23)
CD1-23 Bernard Parmegiani Le noeud ardent (06:40)

CD1-24 Bernard Parmegiani Le crépusculede l'aube (03:50)

duration: 61'20''
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Bayle - Purgatoire & Paradis Terrestre

CD2-01 François Bayle Danse Des Chiffres (3:01)
Chiffre 1 L'Ange de Dieu (12:07)

CD2-02 François Bayle le roseau (5:19)
CD2-03 François Bayle ils... (1:35)
CD2-04 François Bayle la barque (2:07)
CD2-05 François Bayle danse du tremblebemt initial... (3:06)

Chiffre 2 La Vallée des Princes(06:05)
CD2-06 François Bayle polyphonie de texte 1 (0:51)
CD2-07 François Bayle polyphonie 2 (0:50)
CD2-08 François Bayle longue attente 2 (1:50)
CD2-09 François Bayle rêve de l'aigle (2:34)

Chiffre 3 La porte (06:29)
CD2-10 François Bayle ou deuxième Ange (6:29)

Chiffre 4 Les sculptures (10:45)
CD2-11 François Bayle éprouve de l'orgueil (4:43)
CD2-12 François Bayle Ô notre père (6:02)

Chiffre 5 Extase (06:13)
CD2-13 François Bayle polyphonie 3

Chiffre 6 L'Angue-Feu (07:21)
CD2-14 François Bayle danse en six parties

Chiffre 7 Epreuve des flammes (06:29)
CD2-15 François Bayle fusion (4:04)
CD2-16 François Bayle maître de toi-même (2:25)

Chiffre 8 Paradis terrestre . Béatrice (07:48)
CD2-17 François Bayle danse des trois dames (2:10)
CD2-18 François Bayle la forêt (2:32)
CD2-19 François Bayle Béatrice (3:06)

Chiffre 9 Transparence (3:59)
CD2-20 François Bayle le repentir (1;33)
CD2-21 François Bayle la vérité révélée (2:26)
CD2-22 Chiffre 10 Figure supérieure (1:02)

duration: 71'28''

Total Duration : 132'48
Labels: Ina-GRM / Magison
Resume : d'après la Divine Comédie de Dante , précédé de Enfer de Parmegiani

Link CD1 | Link CD2 @ 320

Filipe Pires - Canto Ecuménico

1. Canto Ecuménico (Ecumenical Chant) - 1979
The choice of a religious theme is a pretext for an approximate comparison of traditional music from different cultural areas. The similarities and differences are presented in the form of collages and quotations, connected and superimposed on the sequences of sound material - vocal and instrumental - drawn exclusively from the musicians. Some parts are fragments of Australian Aboriginal rites, joined with Rain Spirits and mixed with sound taken from a funeral ceremony of the Somba of North Benim. Also included are materials from Tibet, Japan, Orthodox Christian Chants from Armenia and Syria, Islamic rites from Morocco, Yemen and Tunisia. Moroccan, Yemenite and Tunisian jews are also quoted here. From a formal point of view, the grand lines of the composition come together in a single block, in the middle of which distinct sessions develop.

2. Litania (Litany) - 1972
This work was composed while Pires was studying with the French GRM. The improvised parts are controlled in the editing process. The sound materials originate mostly from sheets of iron and metal wires, which are joined at their ends. To produce sound, these are plucked, struck or rubbed, obtaining an extensive range of vibrations. Other sound objects are inserted into the discourse, upon which there are opposite characters, that stop and start under a repetitive pattern.

3. Homo Sapiens - 1972
At the heart of this work is the human voice, used as the symbol of earth and creation. It is phonetically framed towards movement, elaboration, and the fusion of disparate sound elements. Homo Sapiens is a revision of the first part of the Nam Ban ballet, composed in 1970. The present version was composed while Pires was studying at the GRM in Paris.

Released in 1980 by Imavox SARL.
Re-released on CD by Strauss in 1997.

link @320

Michel Pascal - Puzzle (2000)

Puzzle is the culminating project of a residency done by the group Studio Instrumental at the CIRM. Studio Instrumental is a modular ensemble that explores how today's musical instruments change through their connection with the capabilities offered by new technologies, while empowering the soloist with significant gestural control in the electronic domain. This control remains within the realm of instrumental technique developed by the performer. Therefore, a new type of musician, interpreter, or producer, emerges: one who controls the acoustic and electronic aspects, in real time, within a living concert.

Portraits: Composed mostly in collaboration with the instrumentalist using improvised sound recordings, they form the "genetic card" of the musician and his instrument in a short span of time. Playable in the normal way, these portraits serve as the reference, as instrumental links from the acoustic to the electronic. (...)
Solos: Two sampler solos build an inverted bridge from electroacoustics to the living instrumentalist. A few elements from the sound matter are captured through this medium that allow for the creation of playing modes characteristic of the electronic keyboard in real time. Michel Pascal, CD liner notes.

01 Puzzle 96: Répété
02 Puzzle 96: Portrait Du Trio À Cordes De Paris
03 Puzzle 96: Diffractions
04 Puzzle 96: Portrait De Raymond Boni
05 Puzzle 96: Portrait De Bernard Vitet
06 Puzzle 96: Portrait De Michel Godard
07 Puzzle 96: Vents
08 Puzzle 96: Portrait De Brigitte Sylvestre
09 Portrait De Daniel Kientzy
10 Ram (live solo on sampler, M. Pascal)
11 Portrait De Pierre-Yves Artaud Aux Six Flûtes
12 Centuring (live solo on sampler, M.Pascal)
13 Portrait De Michel Lethiec
14 Puzzle 99: Rondes
15 Puzzle 99: Portrait D'Alexandre Ouzounoff
16 Puzzle 99: Trois Temps
17 Puzzle 99: Portrait De Gérard Frémy

Pierre Yves Artaud: Flutes
Jean Querlier: Oboe
Michel Lethiec: Clarinet
Alexandre Ouzounoff: Bassoon
Daniel Kientzy: Saxophone
Patrice Petitdidier: Horn
Vinko Globokar: Trombone
Bernard Vitet: Trumpet
Michel Godard: Tuba
Pablo Cueco: Zarb
Gérard Frémy: Piano
Elisabeth Chojnacka: Harpsichord
Brigitte Sylvestre: Harp
Raymond Boni: Guitar
Charles Frey: Violin
Michel Michalakakos: Viola
Jean Grout: Cello
Barre Philips: Double Bass

part 1 : part 2 @320

Bernard Parmegiani - L'Oeil Écoute (1973)

An enduring reflection of the essence of time perceptible in its own right, can be established through the act of intimate listening where the self becomes immersed in re-living the experience of a journey or the immortalised passing of something disclosed as streaming images. As with all concrete music composers B. Parmegiani yields to this charm and in his works, it takes on the forms of continuous temptation marked throughout by a sense of the forbidden and by a certain fear. The listener is brought to wonder whether the composer actually intended to finish once and for all with the power of Orpheus.

In any case the train emerges as mans best friend and so it is here for Parmegiani the musician exploring and recasting dreamlike intricacy. Both through the effect of continuum and streaming images time is transformed into space literally transporting us.

The musical creation of Parmegiani is bounteous and broad in nature When not delicately distilled, brought in closer from afar or yet again built up from infinitely unprepossessing elements it is often boldly unveiled. We only need listen to the opening of l’oeil écoute, a sustained swirl and flurry emerging as a wave about to break, which we only just manage to glimpse at its approach, just like this train which we take at full speed surging forward headlong at the opening of the piece. At the very outset, on the one hand, everything is given in a single act, the music is already moving forward; and on the other the ghostly realm into which it takes us is already amply filed out.
We note that the large arbitrary breaks in tone Parmegiani achieves in l’oeil écoute and indeed throughout all his musical compositions, arise as searching encounters. As such they are gestures deriving from the sculptor himself. The blocks used are very imposing and the matter extremely dense...
The composer’s preference for this generously developed ghostly realm or space is also based on a specific creative foundation: it enables him to conceal things and thus especially allows him to disclose them to play on and with the ambiguity of their presence. Through its momentary and background quality the rather dense and complex matter in the piece gives rise to remarkable and constantly renewed perceptions of appearance and concealment able to assume utterly surprising forms since the interplay, mixing, blending and transparency of elements remains ever changing and is often highly unforeseeable. The surging fight of the potentiometers and balanced crescendos are all gradually chipped away at, carved out, transformed by the matter from which they are intended to extract specific essence. The entire work of B P. is imbued with such games of hide and seek and disclosure.

Philippe Mion, L’oeil écoute: An Analytical Commentary

link @320

Alejandro Viñao - Hildegard's Dream (1994)

The first 3 pieces in this CD form a trilogy for soprano and computer which explores the relationship between melody and timbre in 3 different contexts. Both "Chant d’Ailleurs" [Chant from Elsewhere] and "Borges y el Espejo" [Borges and the Mirror] are concerned with melodic processes based on non European singing models, seeking to extend the syntax of these models beyond their Oriental origin. ‘Chant d’Ailleurs’ takes as a model the chanting tradition of Mongolia and ‘Borges y el Espejo’ that of the classical Arabic singing. ‘Hildegard’s Dream’ functions as a connecting point between these Eastern traditions and the more recent melodic tradition of Europe. The piece, as the title suggests, draws its melodic material from the monophonic singing of the Middle Ages. In those early days, the European melodic syntax was not as different from its Eastern counterpart - as it was to become after the Renaissance - enjoying a rhythmic freedom which had not yet been subjected to the constraints of a rigid meter. This composition marks the beginning of my exploration of melody and timbre which culminated, some 10 years later, in the 3 pieces forming the trilogy. All four works were influenced by the writings of Jorge Luis Borges and his labyrinthine view of the world. His influence was imprecise and diffused and yet I experienced it as something very real. If I try to define it in my own words it is the words of Borges that come to my mind: “luckily we don’t owe ourselves to one tradition. We can aspire to all of them”. Alejandro Viñao

1-3. Chant d'Ailleurs (1992, for soprano and computer)
4-5. Hildegard's Dream (1994, for soprano and computer)
6-7. Borges y el Espejo (1992, for soprano and computer)
8-9. Go (1981, tape composition)

link @320 [Re-Up]